Bill Withers and Curtis Mayfield, those are the people who informed me in playing the bass.
Coltrane would do what you'd get a Roland Pro Tools module to do but with a group of jazz musicians.
For me that's what's fascinating about the internet, that aggregate thing.
I don't listen to much modern composition.
I don't think anything's underground anymore. And I think that's a good thing. Everything is up for grabs.
I mean, I'm in a band, we're reasonably successful, I've got a very nice suit - I'm not even a bad person- so why can't I get a shag?
I tend to play better in the studio, no pressures, just sheer volume and alcohol.
I think that we're not reclusive at all.
I trained as a classical guitarist but that was it.
I used to live in Germany as a kid and I used to speak the language fairly well. I've forgotten it all but I can understand.
I'm going to have classical piano lessons next.
I'm not worried about Americans possibly not buying our records as a consequence of us being outspoken about certain issues.
I've seen the Mass For The End Of Time in concert but my brother's the more musical one really.
If you're working on a computer and you're editing bass, it looks like a warm curvy, sort of feminine object.
In Kid A and Amnesiac, the guitar becomes one more texture, difficult to separate from other textures.
In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.
It was all recorded live in Oxford.
It's a full on job just looking for human social responsibility.
Jonny doesn't want to do TV interviews because he thinks that he comes across as an idiot.
Kid A is more of a distant record, like a message left on your e-mail, while Amnesiac is more in your face, more present.
Limits are very important.
Motion Picture Soundtrack on Kid A was another Coltrane inspiration.
My page is junk, because I hate putting anything to do with me on the site, it just feels wrong.
On the last two records, Thom was definitely looking for other instruments to give him voices rather than have his own voice at the front.
One of the books we read a few years ago that had a big effect on us was Repeated Takes by Michael Chanan.
Our site should be like Paddington Station with a much better version of WH Smith's in it.
People need to focus on bigger issues instead of whether George Bush is an idiot or not.
Phil is a real drummer's drummer.
The guitar is a much more efficient machine than a computer. More responsive.
The thing about rock is that people are not just interested in bands because of where they want to go. It's where they want to escape from that matters.
The trick with computers I think, is to approach old and new things with the same reverence as you would like your favourite chair and not be seduced by the constant innovation otherwise you never do anything.
There's no point apologizing about where you come from.
Warp was important to Thom about two years ago when he was looking for different sounds.
We are kind of one step removed, not really in the center of things.
We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.
We try to treat everywhere we play differently and that's really important.
Well, Oxford is in the center of England, but it's not really a rock'n'roll town, and we don't record in a rock'n'roll place.
When we rehearse, we're always trying to aim for something else. But we never quite succeed in getting there.
With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.
With our website we didn't want people to come to our site and find out about Radiohead. We wanted them to come to our site and find out about what Radiohead are finding out about.
You should approach a sequencer like you would a Dobro guitar.
You should approach technological things in a nostalgic way.
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